For 4,430 reviews, this critic has graded:
  • 74% higher than the average critic
  • 2% same as the average critic
  • 24% lower than the average critic
On average, this critic grades 9.3 points higher than other critics. (0-100 point scale)

Roger Ebert's Scores

  • Movies
  • TV
Average review score: 72
Highest review score: 100 The English Patient
Lowest review score: 0 Freddy Got Fingered
Score distribution:
4430 movie reviews
    • 34 Metascore
    • 38 Roger Ebert
    It's not fair to say Steven Spielberg's 1941 lacks "pacing." It's got it, all right, but all at the same pace: The movie relentlessly throws gags at us until we're dizzy. It's an attempt at that most tricky of genres, the blockbuster comedy, and it tries so hard to dazzle us that we want a break.
    • 71 Metascore
    • 38 Roger Ebert
    There is a funny movie lurking at the edges of Splash, and sometimes it even sneaks on screen and makes us smile. It's too bad the relentlessly conventional minds that made this movie couldn't have made the leap from sitcom to comedy.
    • 45 Metascore
    • 38 Roger Ebert
    An earnest but hopeless attempt to tell a parable about a man's search for redemption. By the end of his journey, we don't care if he finds redemption, if only he finds wakefulness.
    • 31 Metascore
    • 38 Roger Ebert
    A lot of the dialogue is intended as funny, but man, is it lame.
    • 30 Metascore
    • 38 Roger Ebert
    If the movie is a lost cause, it may at least showcase actors who have better things ahead of them.
    • 60 Metascore
    • 38 Roger Ebert
    In the earlier films, we really identified with the small cadre of surviving humans. They were seen as positive characters, and we cared about them. This time, the humans are mostly unpleasant, violent, insane or so noble that we can predict with utter certainty that they will survive.
    • 52 Metascore
    • 38 Roger Ebert
    (Li)'s scenes are so clearly computer-aided that his moves are about as impressive as Bugs Bunny doing the same.
    • 46 Metascore
    • 38 Roger Ebert
    Hoot has its heart in the right place, but I have been unable to locate its brain.
    • 49 Metascore
    • 38 Roger Ebert
    It's slick, it has impressive production values and the acting is appropriate to the material. So why did I find myself so indifferent to the movie? Maybe because it never generated any sympathy for its characters. This is filmmaking by the numbers, without soul.
    • 51 Metascore
    • 38 Roger Ebert
    Plays like a tired exercise, a spy spoof with no burning desire to be that, or anything else.
    • 29 Metascore
    • 38 Roger Ebert
    There are those who will no doubt call The Postman the worst film of the year, but it's too good-hearted for that.
    • 49 Metascore
    • 38 Roger Ebert
    This is not the story of a fugitive trying to sneak through enemy terrain and be rescued, but of a movie character magically transported from one photo opportunity to another.
    • 38 Metascore
    • 38 Roger Ebert
    At every moment in the movie, I was aware that Peter Sellers was Clouseau, and Steve Martin was not. I hadn't realized how thoroughly Sellers and Edwards had colonized my memory.
    • 42 Metascore
    • 38 Roger Ebert
    A witless recycling of the H.G. Wells story from 1895, with the absurdity intact but the wonderment missing.
    • 47 Metascore
    • 38 Roger Ebert
    The movie deserves more stars for its bottom-line craft, but all the craft in the world can't redeem its story.
    • 25 Metascore
    • 38 Roger Ebert
    It's surprising to see a director like Michael Apted and an actress like Jennifer Lopez associated with such tacky material.
    • 39 Metascore
    • 38 Roger Ebert
    You know there's something wrong with a sex movie when the good parts are the dialogue.
    • 38 Metascore
    • 38 Roger Ebert
    Starts promisingly as an attack on modern commercialized sports, and then turns into just one more wheezy assembly-line story about slacker dudes vs. rich old guys.
    • 42 Metascore
    • 38 Roger Ebert
    It's a simple, wholesome parable, crashingly obvious, and we sit patiently while the characters and the screenplay slowly arrive at the inevitable conclusion. It needs to take some chances and surprise us.
    • 51 Metascore
    • 38 Roger Ebert
    In Step Brothers, the language is simply showing off by talking dirty. It serves no comic function, and just sort of sits there in the air, making me cringe.
    • 42 Metascore
    • 38 Roger Ebert
    Footloose is a seriously confused movie that tries to do three things, and does all of them badly. It wants to tell the story of a conflict in a town, it wants to introduce some flashy teenage characters, and part of the time it wants to be a music video. It's possible that no movie with this many agendas can be good; maybe somebody should have decided, early on, exactly what the movie was supposed to be about.
    • 49 Metascore
    • 38 Roger Ebert
    The astonishing success of the original "MiB" was partly because it was fun, partly because it was unexpected. We'd never seen anything like it, while with MiBII, we've seen something exactly like it.
    • 36 Metascore
    • 38 Roger Ebert
    A brutal, crude, witless high-tech CGI contrivance, in which no artificial technique has been overlooked, including 3-D.
    • 25 Metascore
    • 38 Roger Ebert
    Made me want to spray the screen with Lysol. This movie is shameless. It's not merely a tearjerker. It extracts tears individually by liposuction, without anesthesia.
    • 45 Metascore
    • 38 Roger Ebert
    I am just about ready to write off movies in which people make bets about whether they will, or will not, fall in love.
    • 47 Metascore
    • 38 Roger Ebert
    The movie pretends to show poor black kids being bribed into literacy by Dylan and candy bars, but actually it is the crossover white audience that is being bribed with mind-candy in the form of safe words by the two Dylans.
    • 30 Metascore
    • 38 Roger Ebert
    The movie is silly beyond comprehension, and even if it weren't silly, it would still be beyond comprehension.
    • 45 Metascore
    • 38 Roger Ebert
    There are few things more depressing than a weeper that doesn't make you weep.
    • 27 Metascore
    • 38 Roger Ebert
    What possible reason was there for anyone to make Did You Hear About the Morgans? Or should I say "remake," because this movie has been made and over and over again, and oh, so much better.
    • 36 Metascore
    • 38 Roger Ebert
    What we have here is a witless attempt to merge the "Twilight" formula with the Michael Bay formula.
    • 57 Metascore
    • 38 Roger Ebert
    This movie is a study in wretched excess. It is so smoky, so dusty, so foggy, so unfocused and so brownish yellow that you want to try Windex on the screen. A director is in deep trouble when we do not even enjoy the primary act of looking at his picture.
    • 39 Metascore
    • 38 Roger Ebert
    It offers certain pleasures, but suffers from an inability to structure events or know when to end a shot. And it has an ending that is simply, perhaps ridiculously, incomprehensible.
    • 22 Metascore
    • 38 Roger Ebert
    A slick production of a lame script, which kills time for most of its middle half-hour. If anyone in the plot had the slightest intelligence, the story would implode.
    • 35 Metascore
    • 38 Roger Ebert
    A watered-down take on the sci-fi classic "Solaris," by Stanislaw Lem, which was made into an immeasurably better film by Andrei Tarkovsky.
    • 26 Metascore
    • 38 Roger Ebert
    It's a lot of things, but boring is not one of them. I cannot recommend the movie, but ... why the hell can't I? Just because it's godawful? What kind of reason is that for staying away from a movie? Godawful and boring, that would be a reason.
    • 21 Metascore
    • 38 Roger Ebert
    Here's a movie without an ounce of human kindness, a sour and mean-spirited enterprise so desperate to please, it tries to be a yukky comedy and a hard-boiled action picture at the same time.
    • 32 Metascore
    • 38 Roger Ebert
    Emma writes everything down and then offers helpful suggestions, although she fails to supply the most useful observation of all, which would be to observe that the entire novel is complete crap.
    • 45 Metascore
    • 38 Roger Ebert
    A film so amateurish that only the professionalism of some of the actors makes it watchable.
    • 40 Metascore
    • 38 Roger Ebert
    When flashbacks tease us with bits of information, it has to be done well, or we feel toyed with. Here the mystery is solved by stomping in thick-soled narrative boots through the squishy marsh of contrivance.
    • 37 Metascore
    • 38 Roger Ebert
    [Figgis] has made a thriller that thrills us only if we abandon all common sense. Of course preposterous things happen in all thrillers, but there must be at least a gesture in the direction of plausibility, or we lose patience.
    • 34 Metascore
    • 38 Roger Ebert
    An uninspired assembly of characters and story lines that interrupt one another.
    • 31 Metascore
    • 38 Roger Ebert
    The whole movie has the feeling of a clone, of a film assembled out of spare parts from other movies, out at the cinematic junkyard.
    • 46 Metascore
    • 38 Roger Ebert
    I admire the craft involved, but the movie leaves me profoundly indifferent. After three earlier movies in the series, which have been transmuted into video games, why do we need a fourth one? Oh. I just answered my own question.
    • 38 Metascore
    • 38 Roger Ebert
    The one saving grace in Halloween III is Stacey Nelkin, who plays the heroine. She has one of those rich voices that makes you wish she had more to say and in a better role. But watch her, too, in the reaction shots: When she's not talking, she's listening.
    • 44 Metascore
    • 38 Roger Ebert
    The movie works so hard at juggling its cliches that it fails to generate interest in its story.
    • 38 Metascore
    • 38 Roger Ebert
    Here is a story hammered together from discards at the Lunacy Factory. Attempting to find something to praise, I am reduced to this: Cage's performance is not boring.
    • 36 Metascore
    • 38 Roger Ebert
    The Secret of My Success seems trapped in some kind of time warp, as if the screenplay had been in a drawer since the 1950s and nobody bothered to update it.
    • 62 Metascore
    • 38 Roger Ebert
    Dead Man is a strange, slow, unrewarding movie that provides us with more time to think about its meaning than with meaning.
    • 62 Metascore
    • 38 Roger Ebert
    If you walk out after 10 or 15 minutes, you will have seen the best parts of the film.
    • 39 Metascore
    • 38 Roger Ebert
    One of the dirtiest-minded mainstream releases in history. It has a low opinion of men, a lower opinion of women, and the lowest opinion of the intelligence of its audience. It is obscene, foulmouthed, scatological, creepy and perverted.
    • 40 Metascore
    • 38 Roger Ebert
    The actors cast themselves adrift on the sinking vessel of this story and go down with the ship.
    • 52 Metascore
    • 38 Roger Ebert
    It takes some doing to make a Jack Black comedy that doesn't work. But Nacho Libre does it.
    • 33 Metascore
    • 38 Roger Ebert
    The events involving the big speaking competition are so labored that occasionally the twins seem to be looking back over their shoulders for the plot to catch up.
    • 43 Metascore
    • 38 Roger Ebert
    The movie has good special effects and suitably gruesome characters, but it's bloodless.
    • 46 Metascore
    • 38 Roger Ebert
    The Immortals is without doubt the best-looking awful movie you will ever see.
    • 41 Metascore
    • 38 Roger Ebert
    Mad Money is astonishingly casual for a movie about three service workers who steal millions from a Federal Reserve Bank. There is little suspense, no true danger; their plan is simple, the complications are few, and they don't get excited much beyond some high-fives and hugs and giggles.
    • 57 Metascore
    • 38 Roger Ebert
    The standards for comic book superhero movies have been established by "Superman," "The Dark Knight," "Spider-Man 2" and "Iron Man." In that company "Thor" is pitiful. Consider even the comparable villains (Lex Luthor, the Joker, Doc Ock and Obadiah Stane). Memories of all four come instantly to mind. Will you be thinking of Loki six minutes after this movie is over?
    • 22 Metascore
    • 38 Roger Ebert
    It's a shaky-cam meander through an unconvincing relationship, with detours considering the process of making the film. At 91 minutes, it seems very long.
    • 41 Metascore
    • 38 Roger Ebert
    Big Daddy should be reported to the child welfare office.
    • 37 Metascore
    • 38 Roger Ebert
    The first All Talking Killer picture. After the setup, it consists mostly of characters explaining their actions to one another.
    • 30 Metascore
    • 38 Roger Ebert
    The kind of movie Mad magazine prays for. It is so earnest, so overwrought and so wildly implausible that it begs to be parodied.
    • 60 Metascore
    • 38 Roger Ebert
    The characters are bitter and hateful, the images are nauseating, and the ending is bleak enough that when the screen fades to black it's a relief.. Videodrome, whatever its qualities, has got to be one of the least entertaining films of all time.
    • Chicago Sun-Times
    • 30 Metascore
    • 38 Roger Ebert
    Stroker Ace is another in a series of essentially identical movies he has made with director Hal Needham, and although it's allegedly based on a novel, it's really based on their previous box-office hits like Smokey and the Bandit and The Cannonball Run.
    • 32 Metascore
    • 38 Roger Ebert
    The movie doesn't know how odd it seems to cut from the bloodshed in the ring to the dialogue of the supporting players, who still think they're in a comedy.
    • 35 Metascore
    • 38 Roger Ebert
    How could director Lawrence Kasdan and writer William Goldman be responsible for a film that goes so awesomely wrong?
    • 41 Metascore
    • 38 Roger Ebert
    Here is a film so dreary and conventional that it took an act of the will to keep me in the theater.
    • 36 Metascore
    • 38 Roger Ebert
    There's nothing wrong with Fast Food Fast Women that a casting director and a rewrite couldn't have fixed.
    • 22 Metascore
    • 38 Roger Ebert
    Why, oh, why, was this movie necessary?
    • 40 Metascore
    • 38 Roger Ebert
    The movie never takes off; it's a bright idea the filmmakers were unable to breathe life into.
    • 40 Metascore
    • 38 Roger Ebert
    There is some dark humor in the movie, of the kind where you laugh that you may not gag.
    • 27 Metascore
    • 38 Roger Ebert
    Opens with 15 funny minutes and then goes dead in the water.
    • 18 Metascore
    • 38 Roger Ebert
    Very seriously confused in its objectives.
    • 43 Metascore
    • 38 Roger Ebert
    Is there another great modern writer so hard to translate successfully into cinema? Saul Bellow? Again, it's all in the language. The only thing Saul and Gabo have in common is the Nobel Prize. Now that's interesting.
    • 42 Metascore
    • 38 Roger Ebert
    Sanctum tells the story of a terrifying adventure in an incompetent way. Some of it is exciting, the ending is involving, and all of it is a poster child for the horrors of 3-D used badly.
    • 31 Metascore
    • 38 Roger Ebert
    [Robin Williams] has been ill-served by a screenplay that isn't curious about what his life would really be like.
    • 5 Metascore
    • 38 Roger Ebert
    This movie should have been struck by a lightning bolt.
    • 27 Metascore
    • 38 Roger Ebert
    The Perfect Sleep puts me in mind of a flywheel spinning in the void. It is all burnished brass and shining steel, perfectly balanced as it hums in its orbit; yet, because it occupies a void, it satisfies only itself and touches nothing else. Here is a movie that goes about its business without regard for an audience.
    • 39 Metascore
    • 38 Roger Ebert
    The movie attempts to jerk tears with one clunky device after another, in a plot that is a perfect storm of cliche and contrivance. In fact, it even contains a storm -- an imperfect one.
    • 45 Metascore
    • 38 Roger Ebert
    Its primary flaw is that it's not critical. It is a celebration of an idiotic lifestyle, and I don't think it knows it.
    • 42 Metascore
    • 38 Roger Ebert
    At some point during the pitch meetings for D.E.B.S. someone must certainly have used the words "Charlie's Lesbians."
    • 41 Metascore
    • 38 Roger Ebert
    Jiminy Glick needs definition if he's to work as a character. We have to sense a consistent comic personality, and we don't; Short changes gears and redefines the character whenever he needs a laugh.
    • 37 Metascore
    • 38 Roger Ebert
    The Crew is all contrivance and we don't believe a minute of it.
    • 47 Metascore
    • 38 Roger Ebert
    The movie is an invaluable experiment in the theory of cinema, because it demonstrates that a shot-by-shot remake is pointless; genius apparently resides between or beneath the shots, or in chemistry that cannot be timed or counted.
    • 45 Metascore
    • 38 Roger Ebert
    The photography, the dialogue, the acting, the script, the special effects and especially the props (such as a spaceship that looks like it would get a D in shop class) are all deliberately bad in the way that such films were bad when they were REALLY being made.
    • 26 Metascore
    • 38 Roger Ebert
    Walks like a thriller and talks like a thriller, but it squawks like a turkey.
    • 45 Metascore
    • 38 Roger Ebert
    Blindness is one of the most unpleasant, not to say unendurable, films I've ever seen.
    • 49 Metascore
    • 38 Roger Ebert
    CB4
    CB4 is a profoundly confused movie, combining rap music with a satire of the world of rap. Working both sides of the street, it gets caught in traffic. The film stars Chris Rock and Phil Hartman from Saturday Night Live, but it doesn't have SNL's smarts -- and worse, it doesn't have any sense of what's funny. On a structural level, it's incompetently written and directed.
    • 39 Metascore
    • 38 Roger Ebert
    If Flashdance had spent just a little more effort getting to know the heroine of its story, and a little less time trying to rip off "Saturday Night Fever," it might have been a much better film.
    • 42 Metascore
    • 38 Roger Ebert
    A deplorable film with this message: If you're a 14-year-old girl who has been brutally raped and murdered by a serial killer, you have a lot to look forward to.
    • 43 Metascore
    • 38 Roger Ebert
    Did you (Garry Marshall) deliberately assemble this movie from off-the-shelf parts or did it just happen that way? The film is like a homage to the cliches and obligatory stereotypes of its genre.
    • 47 Metascore
    • 38 Roger Ebert
    Bored out of my mind during this spectacle, I found my attention wandering to the subject of physics.
    • 44 Metascore
    • 38 Roger Ebert
    A film overgrown with so many directorial flourishes that the heroes need machetes to hack their way to within view of the audience.
    • 51 Metascore
    • 38 Roger Ebert
    Boring, repetitive and maddening about a subject you'd think would be fairly interesting: snowboarding down a mountain.
    • 53 Metascore
    • 38 Roger Ebert
    The Awakening looks great but never develops a plot with enough clarity to engage us, and the solution to the mystery is I am afraid disappointingly standard.
    • 42 Metascore
    • 38 Roger Ebert
    It's got cheesy special effects, a muddy visual look, and characters who say obvious things in obvious ways.
    • 34 Metascore
    • 38 Roger Ebert
    The kind of movie that would be so bad it's good, except it's not bad enough to be good enough.
    • 38 Metascore
    • 38 Roger Ebert
    There's not a moment in this story arc that is not predictable.
    • 42 Metascore
    • 38 Roger Ebert
    Lumbering from one expensive set piece to the next without taking the time to tell us a story that might make us care.
    • 33 Metascore
    • 38 Roger Ebert
    Nobody needed to make it, nobody needs to see it, Jackson and Levy are too successful to waste time with it. It plays less like a film than like a deal.
    • 50 Metascore
    • 38 Roger Ebert
    Too bad that robots, unlike humans, cannot be discovered in one movie and go on to star in another. I'd like to see No. 5 in a film more suitable to its talents.

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